Dinjith Ayyathan’s ‘O.P.160/18 Kakshi Amminipilla’ has a few pitfalls without doubt, but is also a film that would be discussed for the very valid theme that it purports. There is a charm to the old school style of film making that he so assertively flaunts, and an appeal in his confidence to bank on substance over style.
‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.
The structural elements of ‘Uyare’ are bound to be familiar and the genre expectations are all in place, in that it has all the essential prerequisites of a survivor story. And yet, it’s a story that needs to be told, time and again, in a world that has turned a bit too dark with relationships that have gone all adrift.
Even with your basic senses locked up in a freezer, ‘Mera Naam Shaji’ is a laborious watch, because it repeatedly questions reason in all possible ways it can. The best you can do then, is to just let things be, and wait for the tangle to unknot, and it takes a bit more than a couple of hours for that to happen.
‘Vijay Superum Pournamiyum’ has a pretty atmosphere that is accentuated with solid performances and compelling moments that glimmer here and there. But it regrettably lacks the requisite natural vibes to render it the charm that could have transferred it to the next level – that of a wholly agreeable entertainer.
‘Mandharam’ has very little special in it, despite the individual charms of all its actors. Scratching not much deeper than the surface of its characters, it’s a film that fails to find its own voice, forget its fragrance.
While there has been no dearth to films set on an engineering campus of late, ‘B.Tech’ thankfully doesn’t stick to the common campus caper norms. After an easy, non-eventful former half, the film pulls out a present-day social issue out of its backpack and does a pretty okay job at brandishing it without much of a fuss.
A primitive allure that had been long lost makes a revisit through ‘Kaattu’, and it’s a peculiar combo of the dismal and the lyrical that Arun Kumar Aravind comes up with in his new film. It’s a complex character drama that is tonally and visually notable; a foreboding and dark tale that makes for austere viewing and told with an uncanny grace.
Had it been as judicious in the selection of its fundamental plot line as it had been in the choice of its design, ‘Honey Bee 2.5’ could have worked wonders. As such, it remains a film that never fully explores the limits of its own absurdness and instead makes do with a crackpot try-out that leaves an underdone taste in your mouth.
‘Thrissivaperoor Kliptham’ is a zigzagging account of petty gang warfare at Thrissur, which despite a distinguished ensemble of actors at its helm doesn’t get its act right. There is far too much going on here and yet far too little that actually matters, that makes it a film that often gets muffled by its own ambition.
There is the final scene that for me is the very best thing about ‘Sunday Holiday’, where the tales cross over to skilfully amalgamate into one. And it is this point that leaves you rueful, and wish that the romance that had preceded it had the bite that could have smartened it up into an evenly exhilarating cinematic experience.